1. Field of Invention
This invention relates to guitars, specifically to a tripod support stand with a unique folding leg geometry, used to support the resting guitar sturdily in an upright position, and yet folding compactly to fit into the accessory compartment of a guitar case.
2. Description of Prior Art
Heretofore, no tripod support has been patented or produced for any purpose, whose bi-folding leg geometry has allowed the leg segments to fold into a tight hexagonal array. The two nearest patented bi-folding tripods are discussed in more detail below.
The Goudeau Folding Support for Baby Swings (U.S. Pat. No. 1,806,454) is a bi-folding tripod using a hinge arrangement between the upper and lower leg segments which dictates that, when the legs are completely folded, the three distal segments are adjacent in a triangular array, and the three proximal segments lie in a larger triangular array outside of that triangle, making the minimum overall diameter of the folded stand nearly double the minimum diameter of a similarly proportioned version of my invention.
The Grandjean Stenotype Tripod (U.S. Pat. No. 3,567,166) is a bi-folding tripod using an open channel leg section, with a pivot arrangement between proximal and distal leg segments which, while allowing compact folding, is less rigid and therefore less stable than my invention, is proportionally longer when folded than my invention, and is esthetically relatively unattractive, either in use or folded up.
Similarly, no guitar stand nor any other musical instrument stand has been patented or produced which is a tripod stand with a bi-folding leg geometry that has allowed the leg segments to fold into a tight hexagonal array. Additionally, all standing supports in use or patented for use with guitars, are devices upon which the resting guitar perches, every vulnerable to being dislodged and falling, and when ready for storage or transport, are bulky and require being carried and stored separately. Since the guitar's surface comes into direct contact with these stands, there is always the potential to mar the finish during placement and removal of the guitar. When the stands are not in use, they clutter the appearance of the floor or stage, and are easily tipped, for instance by the movement to cords. Most of the guitar stands in use today are quite similar to each other. They generally consist of a pair of supporting cradle arms holding up the guitar, and either a cradle to support the neck of the guitar, or a bumper against which the back of the guitar rests. Most designs fold to some degree. The patented prior art guitar stands cited herein are typical of the style of guitar stand currently in universal use. An exhaustive recitation of the prior art is unnecessary because there are neither functional nor apparent similarities with my invention. Those prior art stands included are for clarification of the history of guitar stands, and to provide contrast to highlight the value of my invention.
Up until the 1950's, virtually all guitars were hollow bodies acoustic guitars. It was and remains a generally unacceptable practice to drill, cut holes into, or affix hardware to such instruments. Accordingly, the guitar stands which had developed were those upon which the guitar could perch, and thus required no modification to the guitar. The subsequent widespread use of electrically amplified solid bodies guitars was accompanied by a tendency to use whatever accessories were already in wide use. Thus the guitar stands in use today were initially intended for, and are more suitable for use with hollow bodies acoustic guitars. While the prior art stands are not nearly as well suited to the task of supporting solid bodies guitars as my invention is, their inadequacies have been tolerated in the absence of an alternative.
The Gracie Supporting Stand for a Stringed Musical Instrument (U.S. Pat. No. 4,582,282) is designed for use with the hollow-bodies acoustic instruments, and suffers from two main disadvantages. First it has a relatively small footprint, making it vulnerable to being tipped over, and second, though it claims to be able to be carried in a guitar case, it does not fit into the accessory compartment, and thus rests next to the guitar, increasing the possibility of marring the guitar finish during transport.
The Mann Stand for Musical Instruments (U.S. Pat. No. 3,958,786), is adjustable and therefore somewhat more complex than other similar prior art stands, but is a good example of the typical cradle-type stands. In addition to the previously mentioned general disadvantages of the prior art, the stand must be stabilized with a foot or hand as a heavy instrument is being set on it, to prevent its tipping forward. It also requires adjustment and clamping with knurled knobs or wingnuts before it is ready for use. This is time consuming, and presents the possibility of lost parts.
The Miller Bass Viol Stand (U.S. Pat. No. 2,502,229) is a simple four legged support which remains quite bulky when folded. This stand was designed both for use while playing the bass viol, and as a resting support for the instrument. However, because of the narrow angle of taper of its support pin, which is dictated by the standard taper found in the bottom of all bass viols, once the weight of the instrument has pushed it into place, it must be hammered out. This fault may account for its commercial failure. Application of this same post and socket design to guitars would suffer similarly. Additionally, it has the same problem as the rest of the prior art concerning storage or transport: having relatively long legs and being bulky, it requires being carried and stored separately from the instrument.